From Luxembourg and Caracas to Los Angeles, Lagos, and Milan, Untitled Art’s October programming brings together international exhibitions exploring identity, memory, labor, color, and the evolving language of contemporary art.
Untitled Art’s October edition of Untitled Circle spotlights exhibitions across four continents, connecting an international network of galleries, artists, and nonprofit organizations through diverse artistic practices. The monthly selection moves between historical reflection and contemporary experimentation, examining how art engages with cultural identity, social structures, personal memory, and the natural world.
In Luxembourg, Zidoun-Bossuyt Gallery presents Yashua Klos: Towards a New Mythology, an exhibition that reconsiders public monuments and Art Deco influences through dimensional portrait busts. By incorporating representations of friends and family working in construction and municipal maintenance, Klos redirects attention toward the people of color whose labor sustains major American cities.
In Caracas, Claudio Perna: Eye Shock opens at Beatriz Gil Galería on October 18. Curated by Zuleiva Vivas, the exhibition revisits the artist’s painterly work from 1989 to 1994, returning to a gallery where Perna held his first solo exhibitions in the early 1990s. The presentation highlights a body of work defined by visual intensity, sensitivity, and an enduring challenge to the viewer.
Los Angeles offers a different perspective through Susanna Coffey: Going Direct at Serious Topics. On view through October 24, the exhibition brings together self-portraits, nighttime observations, and paintings of women, emphasizing the artist’s practice of working from direct observation.
In Denver, Linda Nguyen Lopez: Low Tide opens at David B. Smith Gallery on October 24. Drawing on her Vietnamese and Mexican family heritage, Nguyen Lopez uses stained mosaic tiles and textile-inspired patterns to explore inherited stories, immigration, and the gaps that emerge as experiences pass between generations. The work reflects on what is preserved, what is lost in translation, and how family histories shape identity.
Miami’s Living Networks, opening October 24 at New World School of the Arts, turns its attention to artistic community. Using archival materials, the exhibition connects current students and alumni, mapping individual creative paths within a broader ecosystem of shared learning and practice.
At Dreamsong in Minneapolis, Fidencio Fifield-Perez: The Passing of a Shadow examines gardening as a metaphor for mutual care and collective resilience. Through collaged paintings, cut-paper weavings, and hand-drawn maps, the artist connects the daily rituals of cultivation with the networks of support that sustain marginalized communities.
Toronto’s Blouin Division presents Wanda Koop: Lumière, an exhibition exploring color, planetary imagery, and humanity’s fragile relationship with the natural world. The paintings consider themes ranging from environmental change to artificial intelligence, using light and cosmic imagery to contemplate the relationship between the present and an uncertain future.
In London, Tache presents Alice Delhany: Invented Fire, a body of fifteen works inspired by New Zealand. Developed through plein-air gouaches, watercolors, and charcoal sketches, the exhibition translates shifting weather, expansive landscapes, and changing light into paintings that appear to hover between formation and dissolution.
Social structures and artistic authorship come into focus in Bogotá, where SGR Galería presents Johan Samboni: Union Against Myself. Drawing on his working-class upbringing in Cali, Samboni carves versions of his own face into bricks, using humor and social critique to examine labor, economic exploitation, and the fragmentation of individual identity.
In Lagos, Crosscurrents and Affinities at DADA Gallery brings together seven established and emerging Nigerian artists. Figurative painting, landscapes, and abstraction create a cross-generational dialogue around inherited cosmologies, lived precarity, and the intersections of personal experience and political realities.
The October selection concludes in Milan with Jorrit Tornquist: The Idea of Colour at ABC-ARTE. Marking the gallery’s inauguration, the exhibition traces Tornquist’s exploration of color from the 1960s through more recent works. Developed with Archivio Jorrit Tornquist and curated by Flaminio Gualdoni, the presentation considers color not simply as a property of form, but as the substance of visual experience itself.
Together, these exhibitions reveal the breadth of Untitled Art’s international network, where distinct cultural contexts meet through shared questions of identity, perception, history, and community.
As Untitled Art looks ahead to the 15th edition of its Miami Beach fair, Untitled Circle continues to extend the conversation beyond the fair itself, connecting audiences with artistic practices and institutions across the global cultural landscape.
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